The advantages of Foreign Film

“I don’t like to read while I’m watching a movie”

International cinema is a fascinating experience capturing a way to learn about other cultures whilst gaining an appreciation of cinema itself. Individuals become enthralled in foreign film as it immerses one into another cultural environment and exposes a new assortment of customs individuals live by. Whilst some may say “I don’t like to read while I’m watching a movie”, use of subtitles assists audiences in understanding films, alongside the ability to comprehend transnational words and phrases. The increase in audience of foreign films can be outlined through Onookome Okome’s statement “Essentially, what marks the postcoloniality of this audience is the deep intention of being immersed in both visual cultures without being strictly compartmentalized into any one” (Onookome Okome, p5), acknowledging the want to learn a developed understanding of another cultural identity.
Together with the film industries; ‘Hollywood’ and ‘Bollywood’, ‘Nollywood’ similarly draws upon traditional cultural traditions and customs denoting Nigeria. The Nigerian film industry emerged in 1990, and now stands as the third largest film industry in the world. This popularity is due to the emergence of East Asian Indian films becoming commercially lucrative.

The ideologybehind Nigerian films highlight a combination of melodrama and magical culture, as well as local corruption as a motif. Onookome Okome acknowledges “Nollywood is the latest strand of the Anglophone African cinema” (Onookome Okome, p3), emphasising the increase of audience participation to this film industry.].

ThisYouTube video focuses on a review by Adenike O Adebayo about a Nollywood film titled ‘Fifty’.

The international film industry has made major development in audience participation over current years. This is due to Globalisation, and the Contra-flows shifting subtitles towards the Global South. Stated in the article ‘Nollywood: Spectatorship, Audience and the Sites of Consumption (Okookome Okome) University of Alberta’ “Field evidence points to the fact that there is a lot of interest in ‘foreign films’ among members of video film audiences” (Onookome Okome, p5) highlighting that the current film market is displaying interest in foreign films which is significantly to do with the hope to indulge in diverse cultures and a ‘Global Village’.

C

This blog post titled ‘Escape to Bollywood’, written by a previous UOW student, evaluates how globalisation is transforming the worlds global village, and the impact this is having towards the global film industry. https://acollocott.wordpress.com/2014/10/06/escape-to-bollywood/

The development of the culturally diverse film industry is said to “provide another lens through which the global effects of culture and media can be understood” (Onookome Okome, p141).  Onookome Okome’s statement focuses on how the use of subtitles allows individuals to learn and develop a new language, and cultural idiosyncrasies.

Overall the technoscapes associating with Nollywood has vastly induced audience participation due to its ability to move at high speeds across various boundaries of the global film industry. Access to technology is becoming much more prominent universally. This is associated as a form of cultural imperialism. Nollywood maintains this dissemination of cultural products using television serials imported from places like Venezuela, Argentina, Mexico, and Korea. Consequently, the push for more subtitled movies to be viewed around the world is just another form of Globalisation that is arising due to the cultural flow of technoscapes.

References:

A., 2014. Escape To Bollywood. acollocott. Available at: https://acollocott.wordpress.com/2014/10/06/escape-to-bollywood/ [Accessed August 21, 2017].

Onookome Okome , ‘Nollywood: spectatorship, audience and the sites of consumption’ 2007, Postcolonial text, vol. 3, no. 2, pp. 1-21 [Accessed August 20, 2017].

Ryoo, Woongjae 2009, ‘Globalization, or the logic of cultural hybridization: the case of the Korean wave’, Asian journal of communication, vol. 19, no. 2, pp. 137-151 [Accessed August 21, 2017

S., 2016. YouTube. YouTube. Available at: https://www.youtube.com/watch?v=agHpM6or3hM [Accessed August 20, 2017].

 

 

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